They’re the best Anime that 2011 has to offer! We counts down the best anime to come out this year, including the likes of Hoshi wo Ou Kodomo, Madang-eul Naon Amtalg, Toaru Hikuushi e no Tsuioku, and more!
5: Hoshi wo Ou Kodomo
English: Children Who Chase Lost Voices
MAL Score: 7.55
If you could turn all your memories into a song, what would it resemble?
Between being an exceptional student and taking care of the house alone during her mother’s absence, Asuna Watase’s only distraction is listening to her old crystal radio in her secret mountain hideout. One day, she accidentally tunes to a mysterious and melancholic melody, different from anything she has ever heard before. Soon after, an enigmatic boy named Shun saves her from a dangerous creature, unknowingly dragging Asuna on a long journey to a long lost land bound to surpass her very imagination, turning her once melodic life into an intricate requiem.
Sorry, that should be a 12 year old girl. Let’s try this again …
Stories about children having adventures in other worlds are a dime a dozen these days, but rarely do we see a tale that’s more akin to the stories of old, where brave youths traversed other realms on a journey that would teach them … lots of stuff.
Nope, that’s not going to work either. Let’s try putting the two together …
Hoshi wo Ou Kodomo, which apparently means “Children Who Chase Stars” but for some reason is called “Children Who Chase Lost Voices From Deep Below”, is the latest work from acclaimed creator and director Shinkai Makoto. The story centres on a small town in the countryside, where a young girl called Asuna spends her time after school listening to the strange music that comes from the crystal radio that her father left to her before he passed away.
Everything is peaceful until one rather eventful day …
At it’s core, Hoshi wo Ou Kodomo is an adventure covered in a philosophical blanket that doesn’t quite fit, and it shows in many ways. The plot tries to blend a variety of themes, but it never really manages to do this with the panache of Shinkai’s previous works. In addition to this, there’s a childishness to the narrative that some viewers may find a little annoying, and quite often events are resolved in a manner that is very “black and white”. Because of this the story lacks a good measure of catharsis, especially in comparison to “5 cm Per Second” and “The Place Promised In Our Early Days”, and the film concludes with a rather lukewarm resolution.
That said, the movie is interesting to a degree, but much of this comes from the way in which myths and legends regarding the underworld and resurrection are tied into the plot. Unfortunately, it’s clear from the opening scenes that inspiration for the anime has come from a few very well known sources, and viewers may find that they spend more time playing spot-the-influence, and less time paying attention to the storyline.
One of the first things that people will notice about Hoshi wo Ou Kodomo is the very “Ghibli-esque” atmosphere it has, but while this perception can initially be ascribed to the rural setting and the young lead character, the similarities actually run a lot deeper. The scenery is a rather pleasant blend of Shinkai’s trademark panoramas and the kind of countryside imagery that one might find in “Only Yesterday” or “Spirited Away”. Once the action moves beyond the gate, the background art and the settings dramatically improve, and the audience is treated to the kind of vistas that one would expect in a Shinkai feature.
Unfortunately the same can’t be said of the design, and viewers may be forgiven for thinking that the entirety of the movie is nothing more than an homage to a certain well known studio. The characters are so stereotypically Ghibli in fact, it’s easy to imagine them searching for Laputa or farming in The Valley of the Wind. The similarities even extend to the animals, and while several of the more fantastic creatures wouldn’t look out of place in the forests of “Mononoke-Hime”, the strongest resemblance (in more ways than one), is between Asuna’s cat Mimi and Nausicaä’s pet Teto. Sadly, the comparison can only go so far as the characters lack visual refinement, which is further compounded by the lack of gradation in the colour palette used for them.
When it comes to the animation, Hoshi wo Ou Kodomo is a long way from the best work produced by the long-running Shinkai/CoMix Wave Inc. collaboration. The action sequences are pretty decent for the most part, but the characters can sometimes move in a stunted manner, almost as if there’s a degree of uncertainty about how each person should act or react in a given situation. In addition to this there are several scenes where the characters seem to have irregularly proportioned bodies, and viewers may find themselves wondering why particular events leave them with the nagging feeling that something isn’t right.
The theme song, “Hello, Goodbye and Hello” is a bittersweet ballad composed and performed by Anri Kumaki, and in all honesty it’s a rather fitting song given the nature of the story. As for the background music, there’s a rather nice mixture of placid or bittersweet orchestral tracks, light-hearted jingles and dramatic pieces, all produced by Tenmon – Shinkai’s long-time compositional stalwart. Ironically, the movie excels when it comes to audio choreography, and with an array of high quality effects on offer it can sometimes feel as though more care has been given to making the feature sound good in a pretty setting, and not enough on developing the story.
The script lacks a degree of intuitive flow, and the characters can sometimes state the obvious or wax philosophical for no reason other than to add a veneer of intelligence to proceedings. It’s a sad fact that the dialogue can sometimes be stunted, and lacks the nuance that many viewers might expect. While some people may believe that this is due Asuna’s age and lack of knowledge, the simple fact is that it highlights more than anything else how inexperienced Shinkai is with this type of movie. That said, the more than experienced cast have rallied well, but even with their ability to project emotion and personality, there are moments when they’re unable to compensate for the heavy handed script.
There’s a strange dichotomy with the characters as on the one hand Asuna, Shun, Shin, and pretty much everyone else aren’t really anything to write home about – especially if you’ve watched certain Ghibli movies. On the other hand Morisaki Ryuji is a very interesting person indeed, and is reminiscent in many ways of a more humane Ikari Gendou. Unfortunately he also suffers from the same problem in that he isn’t given enough back-story to support his actions and decisions, but then, that’s pretty much the tale of Hoshi wo Ou Kodomo in a nutshell. Although there is some development for the lead roles, it’s often sporadic as the focus seems to be more on the journey itself.
Shinkai Makoto has made it no secret that the inspiration for this movie came from a story he read in elementary school, but it was during his sojourn in England in 2008 that the idea for the anime finally coalesced into something more concrete.
Which, strangely enough, explains rather a lot.
There’s a childishness to the movie that doesn’t quite fit with the major themes of the plot, and in many ways it feels more like Shinkai was testing the waters and his determination, which isn’t actually surprising when one considers that Hoshi wo Ou Kodomo is also his attempt to prove that he isn’t a one-trick pony. While there are some positives that can be taken away from the feature, there are far too many things that have been “borrowed” from other films, and these make it difficult to see the movie as little more than an homage. In all honesty it would have been nice if Shinkai had the courage of his convictions and relied more on his own style (like he did with “5 cm Per Second” and “The Place Promised In Our Early Days”), instead of trying to piggyback on that of another studio.
That said, Hoshi wo Ou Kodomo is a fairly easy movie to watch as long as the viewer doesn’t delve too deeply, and it has a much lighter and more adventurous tone that Shinkai’s previous offerings. In addition to this, if one considers it an experiment with a new type of story then it doesn’t just become a reasonably entertaining feature, but also a glimpse into the mind of Makoto Shinkai, and that is a much more rewarding experience than the movie itself.
Although, to be perfectly honest, I do not entirely agree with the Ghibli comparison many have done. The similarities stop after a magical land, equally magical creatures and character designs that, with some small adjustments, could have come from any of Hayao Miyazaki’s flicks. The rest is characteristic Shinkai flair, albeit this time muddled with a severe identity crisis.
On a first glance Children Who Chase Lost Voices does not sound too bad. A girl named Asuna is about to be killed by a magical beast when a mysterious boy pops up and saves her. One thing leads to another and soon she is thrown into Agartha; a land unknown to mankind.
This is a good set-up and it also tries to tackle subjects such as death and bonding. But the lacklustre execution leaves extremely much to be desired. It is hard to understand how Shinkai, who at least were somewhat coherent in the past, could end up doing this mess.
The story never really makes any sense and Asuna’s drive, a character she had known for ten minutes disappearing for reasons unbeknownst me, is a really bad excuse for starting it. Every ten minutes, sometimes even less, we have drama cranked up to eleven even by Shinkai standard. In most cases these moments are variations of Asuna needing to be saved which does not help making the drama less tiresome after the tenth overblown scene.
There is no room to for Children Who Chase Lost Voices to actually breathe and explore its own setting. Agartha itself is never properly established and neither are the people nor the creatures that inhabit it. There is some conflict, a large kingdom and so on… but these do not matter at all. This becomes almost pathetic when none of the main characters even question or act surprised at what they are witnessing. This is because they are only there to move the already non-existent story forward.
As if to rub salt in the already fatal wound, Children Who Chase Lost Voices also suffers from a directing that I never would have guessed would come from Shinkai who is an experienced person. The movie has a lot of scene transitions and cuts which results in a very fragmented story. In one second there is a chase scene, another second it has ended and then all of a sudden we are in a town. This hurts the already unexplored setting even more! Add in the tedious drama I spoke of earlier and it simply does not mesh that well.
And this leads me to the movie suffering from an identity crisis. It does not know what it wants to focus on. The setting is not important, the story is poor and the characters are shallow. Yet Children Who Chase Lost Voices incorporates them all in a hope of achieving something. But that something never shows itself throughout the movie. Even the themes, death and bonding, are thrown out of the window towards the end as a way to squeeze out a tiny bit more drama instead of something believable.
Whether or not Children Who Chase Lost Voices was an experiment by Shinkai to try out something new or an attempt to emulate someone else’s success does not change the fact that this is a disaster.
An utter disaster that makes me skeptical of his future works.
I’m sure the clever ones amongst you must have caught on by now that this movie is rather derivitave. Yes the movie takes many cues from Ghibli flicks, particularly Laputa which Shinkai has admitted to being a big fan of, but it plays around with the formula in enough new and interesting ways to stand out from the pack. Asuna, our female lead, does start out as rather irritatingly perfect, but as the movie goes on her loneliness and fears begin to come more to the surface. Plus it does this without ever being in your face about it. Yes, the characters sometimes have to point out the direction their character’s development is going in, such as when Asuna admits to her substitute teacher acting a bit like her father, but it flows well with the dialogue and doesn’t feel the need to retread these same points over and over again.
Then there’s the substitute teacher, Morisaki, who I’ve already eluded to as being my favourite characte. He starts off appearing like he’s going to be the standard deluded villain, intent on destroying all in his path to get to his goal. This is sort of what he is, but his reasoning is sympathetic and he doesn’t act pointlessly evil for the sake of things. He’s quick to draw his gun, but it’s for his own safety and not because he just likes shooting things. His reasoning for going into Agartha makes him sympathetic too, rather than just being power-hungry or driven by sheer greed. But what makes him great is he also brings out the best in Asuna, elevating her to an interesting character in their own right. As the two travel through Agartha, they strike up a rapport like that of father and daughter, which was very fitting given what the two of them had lost in their lives. They became the family neither of them ever had and, while he was often harsh to Asuna, there was still the strong sense that Morisaki grew to care for her immensely. He’s a human character with real flaws, as was Asuna, and their relationship was the real highlight of the movie.
Animation-wise, the movie is stunning. OK, this is still Shinkai, and his tendency to focus on clouds remains completely baffling, but the world of Agartha is beautiful. It’s essentially the same as earth, but there’s enough touches here and there to make it seem alien. Morisaki and Asuna travelling through the countryside had this almost Lord of the Rings feel to it. The world can feel a bit barren at times, lacking magical towers and sparkles at every turn, but it fit the feel of the world. It was supposed to feel empty and dying. The other thing this movie nailed was the sheer scale of some of the set pieces. Where Ghibli films excel is in the fine detail, which I don’t think Shinkai got quite as well in this film, but the scopes of some of the set pieces were jaw-dropping. Particularly I have to mention the giant hole in the world that book-ended the film and that multi-eyed monstrosity that was meant to represent the god of this world. And hey, since we’re talking about monsters, special mention has to go to those skeleton-like creatures that swam on the ground like sharks of the shadows. They were flat out creepy.
It’s far from a perfect film though, and I particularly have a bone to pick with the music. The sweeping orchestral score has all the subtlety of a child smashing a spanner on a table to get attention. Because the same score is used for almost every single slightly dramatic scene, it robs the music the intense effect it’s supposed to have on the more dramatic scenes. It’s also a bloody long film, about 2 hours long, and takes a while to get going. It doesn’t really pick up until the characters visit Agartha, and that takes almost an hour. This is partly down to Shinkai spending far too much time setting the scene, showing off the landscape of Asuna’s home town. Which is fair enough, highlighting the ordinary world so it makes the contrast with Agartha that much stronger, but he really spends too much time on it. I really didn’t need that shot of dragonflies having sex Shinkai, and could you please stop it with the bloody clouds? Yes, these scenes are incredibly important to establishing Asuna’s character for the development that occurs later on, but it doesn’t stop the scenes from being boring. And no, sticking in the fox-cat from Nausicca won’t make these scenes that much more tolerable. That’s just cheating.
Plus since it’s basically Ghibli, it carries over not only the strong points of magical worlds and amazing attention to detail that these films have, but also carries over the warts too. Towards the end it really starts to get a bit silly, especially when the giant monster thing swallows the main character and jumps down a bizillion foot drop in order to transport her, looking rather like a pregnant woman crossed with those robot things from Laputa. It even brings over the forced in environmental message that Miyazaki works into his films with the grace and subtlety of a hippo doing ballet. It did only got a passing mention and, while clunky, wasn’t anywhere near as bad as Miyazaki’s tend to be. Besides, the movie earns so many points by adding the much needed nuance to the main character and the sorta villain that I can forgive most of the mistakes it makes. Asides from the clouds. Please stop with the damn clouds.
There is one final problem I’d like to highlight. There was something off about the pacing. The story was very well told and wove the themes of loneliness and loss in extremely well, but the transition from set piece to set piece was clunky, as though it was adapting a TV series and these were the gaps between episodes. As I said, it’s a two hour movie which is really a touch too long, but I also wouldn’t want to cut much out of it (asides from all the clouds). I think it may have suited a short Noitamina length TV series or OVA instead. You could have delved into some of the characters pasts a bit more, or told us more about Agartha. That was one thing I was a bit miffed about. There was an interesting conflict between Morisaki and the people of Agartha where he accused them of accepting their decay and being lazy, which tied quite well in with his own story, but it didn’t really tackle the Agartha side of the story once he’d left.
While there are plenty of flaws with the movie, I did end up enjoying it a lot. Not sure how fans of previous Shinkai films will take this, as it’s a drastic change from them. I suppose the themes are kind of similar (or at least I’m told the themes are similar, I was too busy gnawing my arm off in an attempt to stay awake to notice the themes of his previous films). But if you like Miyazaki’s films, you’ll like this. It’s too long, take a while to get going, gets a bit silly at times, and someone needs to bop the composer over the head and tell him to lay off the full orchestral sweeps every once in a while, but it’s a genuinely entertaining film with a well told story. And clouds.
4: Madang-eul Naon Amtalg
English: Daisy: A Hen into the Wild
MAL Score: 7.57
A Korean animation about a hen named Leafie who lives and works on an egg farm who dreams of freedom outside her cage. One day she fakes her own death to escape the farm.
As average as it is, this movie was kind of fun to watch.
It starts with Leafie wanting to live in the backyard instead of laying eggs, so she pretends to be dead and is sent off to be buried, but manages to escape. After this weasel is introduced who wants to eat Leafie and a Wild Duck helps her escape.
This Wild Duck has been fighting the Weasel for some time. And there is his final fight, where he sacrifices himself by jumping off a cliff and taking the Weasel with him, but the Weasel survives.
After this “the real movie begins,” as Leafie helps a Duck’s egg hatch, and she becomes the “mother” of this duckling. Before this, the wild duck that Leafie calls “Wanderer” tells Leafie to take the duckling that was about to hatch to the swamp, and she doesn’t know the reason for this, but he says that one day she will understand.
During this the relationship between Leafie and her “son”, whom she names Greenie, develops. One thing I did not like is that there is Time-Skip in the middle of nowhere, from one scene to another at the moment when Greenie is just a puppy.
The movie portrays Greenie’s acceptance that his mother is not a duck either. At one point he says he is ashamed of her, but she saves him from the man and he sees that she is a good mother to him.
Towards the end there is a competition of the wild ducks to see who will be their flight leader. The result was kind of obvious, but it was nice to see. After this some things happen and the film ends, Leafie and Greenie say goodbye with the promise of meeting again.
The characters are not great. The best is Leafie, who is very charismatic.
The only character I didn’t like is Otter, he is very annoying and even irritating at times.
One thing you can’t complain about in this movie is the production. Everything is very detailed and consistent.
The animation is very fluid and consistent. There were moments that I didn’t know if it was CGI or 2D because it was so well done.
It’s an average movie, but I had a good time.
Leafie, A Hen into the Wild is one of the most touching animated films I have ever seen that involves animals. It is based off a popular children’s book by Hwang Sun-mi.
It has the feel of a Western animated feature but the undeniable grief and hardship often exhibited in Eastern drama films.
The concept is fairly simple. Leafie is a hen who is confined to an egg farm and dreams of simply going outside to the yard. By playing dead, Leafie is taken out of the farm and dumped in a landfill where the farmer puts all his dead hens. Thankfully she lives and discovers the beauty of the wild. In the wild she meets lots of new characters but especially grows fond of a handsome mallard whom she calls Wanderer. Chaos ensues and Leafie is left to take over the egg that Wanderer and his beloved left behind. The movie primarily focuses on Leafie and her new duck son, Greenie.
As silly as that all sounds, the movie is done exceptionally well. It’s seriously unbelievable how a story with such childish-sounding characters can be so touching and heartfelt.
The art is top notch, very close to the quality you would have seen from Disney animated features. The backgrounds are all hand drawn and very beautifully done. It gives the movie a kind of children’s story book feel which fits the movie perfectly since it’s based off a book. The only issue I have with the animation is that some frames look like they were done in Flash. Flash animations always have this type of motion animation that looks too smooth to be traditional hand-drawn animation. However, this minor flaw does not tarnish the otherwise incredibly beautiful artwork. The 3D blends incredibly well with the hand-drawn art and it some cases you may not be able to tell them apart. It’s just really that well done.
One thing I really liked about this movie is how each major character has depth. The main antagonist, the One-Eyed Weasel, is seriously a great character. She starts off as that typical bad guy character but as the movie progresses we see her character become humanized and empathetic.
Despite how much I love this movie, it does have its flaws. As expected from an animated feature, there are some parts that are well–childish. At one point in the movie there is a competition. The scene is described like an Olympics sports event which is kind of amusing but doesn’t make a whole lot of sense. They’re in THE WILD. Animals DO NOT HAVE MICROPHONES. Seriously, the side characters narrating the scene had no equipment of any sort (except for some kind of log…microphone) so I have no idea how they’d be able to narrate a fast-flying competition unless they were following the competitors (and they weren’t).
And of course there is the character design of Wanderer which is so hilariously bishonen that many people who watched this movie couldn’t help but laugh. I have to admit, it made ME want to watch the movie because it’s just so hilarious to see a BISHONEN DUCK. Aside from Wanderer, there are other characters with distinct features that you seriously wouldn’t find on any wild animal. To be honest it reminds me of what Don Bluth does with his animal characters. This isn’t a huge flaw but it could make the story hard to take seriously for some people.
Like any Western animated feature that this film clearly takes a lot of inspiration from, there are parts where it focuses on side characters doing silly things. This isn’t necessarily a flaw but there are some parts that are so childishly dumb that adults might feel it to be off-putting. One example of this is when Leafie finds Mr. Otter literally taking a dump and then falling off a rock. No idea what was up with that scene and I felt it to be pretty unnecessary among other unnecessarily disgusting “funny” moments.
Overall though, Leafie, A Hen into the Wild, is an absolutely gorgeous movie and I can only hope this gets an official English release at some point.
-If you are a parent or a wise child you understand what is empty nest syndrome. In short it involves the kids leaving their parents for their solo life adventure. Here it is only slightly different for it starts from the child’s side before it gets to the eyes of the parent(s).
– Introduction was straight forward
-conclusion was not what i thought would happen. Especially in a movie meant for kids. Although, props to the writer for not only was it understandable but could have been far more grotesque.
An inspiration anime. An anime that encourages one to follow their dreams for where it leads them. Not only that but anyone can make a good team no matter the situational outcome.
3: Toaru Hikuushi e no Tsuioku
English: The Princess and the Pilot
MAL Score: 7.64
The war between the Levamme Empire and the Amatsukami Imperium has been raging for years. In the midst of this struggle, the prince of the Levamme Empire declares his love for Juana del Moral and vows to end the war in one year, as part of his marriage proposal. When the Amatsukami catch wind of this, they assault the del Moral residence, targeting Juana’s life. As a last ditch effort to bring the prince his bride, the San Maltilia Airforce hires a mercenary of mixed blood—a bestado—to fly Juana to the Levamme capital in secret. The pilot, Charles, accepts the mission…but traversing an ocean alone, into enemy territory, proves a much more dangerous ordeal than anyone could have anticipated.
(Source: NIS America)
This didn’t bore me at all, and in fact, it’s so much more refreshing than most of the anime aired these days. If you are like me, who need occasional breaks from tsundere and yandere girls and harem loving boys, come and watch this please. I wouldn’t call it serious or deep, but it’s real. Yes, it’s real as in, it’s how real people are. I’m not trying to offend quircky and crazy characters or random and insane plot twists. It’s like I said, I need a break sometimes.
I digressed from the review a little bit, but honestly, if I say one little thing about the plot or characters, it’ll basically ruin the series for you, since everything is as straightforward as they can be, and should be in my opinion.
The soundtracks and animation are really good, and the fighting scenes are very well made. It’s like one of those studio ghibli’s works, simple but solid, and in my case, will be remembered fondly.
It was originally published as a single volume light novel in 2008 and was considered a runaway success. Although Inumura Koroku was already writing a different novel series at the time, this novel became his breakthrough and most well-known work. Inumura left such an impression on his readers that the novel reached tenth place in the annual “Kono Light Novel ga Sugoi!”, or “This Light Novel is Amazing!”, poll conducted on the Internet. It spawned a subsequent “Hikuushi” series which encompasses two additional spin-off series of the same “Toaru Hikuushi e no” title.
There are a number of predictable formulas for characters involved in forbidden love. In this case, we are introduced to mercenary pilot Charles Karino and Juana del Moral, fiancée of the crown prince of a powerful empire. Their story and the conflict that is in their hearts are set within a greater conflict: relentless warfare between two neighboring empires. The conditions also beg of the question of whether it is right to sacrifice a world’s peaceful future for the selfish desires of two people. The juxtaposition of these two elements presents a love story that is timeless and refreshing. While it is something we’ve read before in stories like “Romeo and Juliet”, the tale does not fall into the trap of creating a predictable ending, but rather an inevitable one. In fact, when the reader begins to understand the fate of the two characters, he or she can still be impressed by the way their relationship is developed.
With the story focused on only two noteworthy characters, it can be easy to assume that watching their interaction will boring. On the other hand, one can easily empathize with the strong feelings of the characters. Each time pilot and princess are torn between duty and personal affection, even the reader feels can feel torn as to which decision they should make. One can sense that the two are close in their hearts, yet a gap as wide as an ocean separates their conscience. As both characters begin to open up to the feelings of each other, we become more invested in their relationship.
Madhouse presents its viewers with an artistic presentation that is both appropriate and experimental. Heavy use of the color blue is obvious from the theatrical poster alone as it represents the vastness of both the sky and the ocean. It does not, however, drown out the other colors that are also presented, and certain environmental details make this anime movie as realistic as possible. Madhouse also presents a sound mechanical design for aircraft technology in the film. Aerial combat is presented with great detail in the movement of each airplane as if one were watching a World War II reel, complemented by a rich portfolio of sounds that realistically replicates an propeller airplane’s engine.
While the film’s soundtrack may not be very memorable, Niizuma Seiko presents us a touching theme song with lyrics that reflect the longing of both characters. As an ending theme, it provides an appropriate closure for a story with mild pacing. Conflicts in the plot came at the appropriate times and keep the viewer interested through a film that could easily have bored viewers if done improperly because of its length.
“The Princess and the Pilot” is a simple story set in a rich universe that shines through the human interaction that is neither exaggerated nor lacking. While it can be enjoyed as a standalone work, reading the novel will also present a richer understanding of the distance that separates Charles and Juana and the affection that binds them.
2: Doraemon Movie 31: Shin Nobita to Tetsujin Heidan – Habatake Tenshi-tachi
Japanese: 映画 ドラえもん 新 のび太と鉄人兵団～はばたけ 天使たち～
MAL Score: 8.00
Jealous of Suneo’s new robot toy, Nobita asks Doraemon to build him an even better one. Doraemon initially refuses, until Nobita accidentally discovers pieces of a mysterious robot that falls from the sky. After gathering all the robot parts and assembled them together, the giant robot, Zanda Claus, is soon completed. The duo soon learn that the robot is not a mere toy, but a powerful weapon in the fight against the coming Robot Army that is going to attack Earth and enslave the human inhabitants of it. An invasion is near, as a mysterious girl Riruru (リルル, Alternative spelling: Lilulu, Lillele [Doko Demo Doa Scanlations]) shows up, looking for the robot.
There is pretty much nothing Bad I can say about this movie.
This movie has great characters, a pretty good antagonist, good comedy and the soundtracks as well as the animation are on another level.
One thing that makes this movie special is that no matter how many times you watch it doesn’t get old. There is always something in the movie that you love and the ending is emotional, it pulls you in right from start and the new characters that introduced in the movie are probably the best doraemon side characters ever.
In my opinion this is peak doraemon and the series may never reach this level of quality again when it comes to movies and This movie is without a doubt, worth your time and I can’t recommend it enough.
Despite being made for kids, this movie is actually quite good and better than your average kids movie.
There aren’t any major plot holes and everything makes sense while being somewhat complex at the same time.
This is also a remake of the older version of steel troops and this remake made it way better.
I liked the old one but with it’s really good animation, voice acting and overall enjoyment this remake elevates the old movie story line to a whole new level.
In the past they have remade older movies and improved on them but this remake is just on another level compared to the others. The actual steel troops story is honestly the best out of all doraemon movies as well.
If you are a doraemon fan I recommend this.
The characters who stole the show the most in this movie were Riruru and Shizuka. You will see Shizuka’s kindness tested to it’s absolute limit, and Riruru questioning her beliefs and purpose. It is surprisingly deep material for a Doraemon movie, especially near the end which I will not spoil for you.
Unlike other Doraemon movies, this one has a more serious tone. The bad future always seems like an immediate threat, which makes for an action-packed movie. There are still some moments of levity despite this, to keep the film from getting depressing.
Overall, I would say to check it out. It is among the best Doraemon movies, and it’s heartwarming story shows us why Doraemon ended up being such a beloved character in our culture.
1: Detective Conan Movie 15: Quarter of Silence
Japanese: 名探偵コナン 沈黙の15分
MAL Score: 8.02
The momentous day of the opening of the new Tokyo subway, the Touto Line, has come, but a bombing incident puts all celebrations to a halt. The governor of Tokyo is caught in the blast while onboard the train, but he and everyone else present is fortunately saved by the quick thinking and actions of Conan Edogawa.
Intrigued by the incident, Conan researches the governor’s political history and discovers that the man was responsible for the destruction of a village in Niigata to build the Kitanosawa Dam. Believing the attack to be related to the construction of the dam, Conan, accompanied by Ran Mouri, Kogorou Mouri, Professor Agasa, Sonoko Suzuki, and the Detective Boys, decides to visit the village and investigate.
There, they meet a group of locals who lived in the old village before it was torn down. However, just as one mystery leads to another, one of the locals is murdered. Suspecting that something much more sinister is afoot, Conan vows to uncover the truth behind these two incidents before it is too late.
But after watching this movie, I just got an urge to do it.
So, here I go:
Even though the trailer didn’t get me least excited and therefore I wasn’t THAT hyped, because of Movie 12’s, 13’s and 14’s Awesomeness, this one blew me away, once again.
It had everything, I love so much about this series (except for Kaito and Heiji, but they were in Movie 14 already).
The case was very exciting, the typical humour was good and the action was thrilling.
Of course, there also was the obligatoric dosis of drama, the series and especially the movies, always got. Some may find it cheesy and that’d be fine. But it doesn’t bother me.
Last but definetely not least, there was one of my most favourite things about the show, that I missed in the recent movies.: the presentation of the beautiful country and culture of Nippon (mostly country this time).
Before and even in between the cases, the series very often delievers a heartwarming, authentic and overall fascinating impression of the land of the rising sun. In my opinion, that is what makes the show so great, almost as much as the cases themselves.
The only thing I didn’t like, were the 3D-Effects regarding vehicles and traffical stuff in general. It’s common in anime these days and especially the Conan-Movies made use of them for a long time now.
Still I like the “old way” of animation best, were this parts also were “handmade”.
The Skate- and Snowboard-Scenes were an exception though. They were fantastic. They added a lot of action and dynamic feel to the movie and were great to watch.
The finale was the cherry on the cake. It was one of the best, if not THE best in the whole series. And that is quite an accomplishment.
It was dramatic, fast paced and simply bombastic.
Bottom line it was one of the best Conan-Movies so far, even though nearly all of them, were top notch.
Every fan of the series should’ve watched it and most of them, should come to love it, too.
As a huge DC fan, I was wondering about how they could surprise us, after producing both DC movies (13 & 14) which where very very enjoyable.
So, does this film hold all his promises, and our expectations?
Let’s talk about it.
Detective Conan Movie 15: Quarter of Silence:
After an introduction scene, showing a boy falling from a small snowy cliff, the story begins immediately out kind of crazy.
With a threat against the japanese governor, which became reality with a bomb’attack in a subway tunnel.
Conan succeeds to save everybody, after seeing someone suspect in the tunnel near this subway (actually, in top of) and understanding that some bombs were planted there.
Then.. A police summit and… nothing.
Conan & friends decided to came to Kitanosawa for Snow’s party (does it really exist in english?), and after the eternal and essential Agasa’s quizz, we discover the main characters of this movie. (Oh wait, I do not talk about the “memories” present, and the snowmobile’s course cause it’s without interest)
We discover these 5 people, childhood friends, who seem to be connected by tragic events (for each of them: A dead sister, a son in the coma, a killer…).
And after that, all of the continuation of the movie is tasteless. Indeed the story is soooo easy to guess, and far too badly settled and introduced:
The awakening of toma, after 8 years in the coma, the death of the character which seemed the most narcissistic and “bad”, Conan who ridicules Kogoro by finding how the culprit made not to be seen (in a easy way, moreover), the memory which returns little by little to Toma, which could remember the man who would have pushed him of the cliff…
Conan who solves easily the survey, the children who leave the place with Toma, and who are followed by the killer, then saved by Conan..
And similar. Bombs on the dam, predictable since the beginning.
How to stop the water of the dam? With an avalanche, obviously.
We also knew it since the beginning, as soon as they speak of ” how long we can survive under the snow after an avalanche “… Oh wait. Reread the title of the movie.. Yes, we still guess the end. AGAIN
Conan who arrives supernaturally to make an avalanche, to save everybody and the village, and RAN who finds him (shinichi, again) at the last second (14 minutes > 15 minutes of survives max.. Remember?)
Aniway, even if the story isn’t that much interesting, I’ll give a 04.
I was a bit sad at the beginning of this movie. DC passed in full HD, and it’s wonderful. The animation is redone and perfectly worked. To my eyes, the movie is really very very beautiful.
Nevertheless, all the added details, to make the spectator laugh (all these visual onomatopoeias, all these small gags…) are tasteless and without interest. And it’s a pity..
Sound is cool. Nothing really good, or really bad.
Even if I didn’t like Kogoro’s voice in this movie, it’s quite enjoyable.
•Characters (02/10): (DID NOT COUNT DC USUAL STAFF)
No surprise, we have the team: Kogoro/Ran/Sonoko/Conan + Agasa/Ai/Ayumi/Genta/Mitsuhiko.
And that’s, then, the BIG weak point of the movie. All the unpublished protagonists and existing only for this movie are clichés and stereotypes. Besides we’ll never arrive to fasten (Your sealtbealt *.*), indentify ourselves to one of them.
They are divested of interests, both by their character and by their actions.
I have no problem to watch this movie. Even if it was boring at such time, it’s always like that in some point, in DC movies, that’s why it does not disturb.
Yeah, I’ve lot of problem with this movie.
OBJECTIVELY, how did a 10 year’s boy could stop cars on road, at high speed? Could survive at bombs, and avalanche (after being shot, yes, shot by a rifle)? Couldn’t be unmasked, while IT WAS a lot MORE EXAGGERATED than lot of DC’s movies (Summit police, when Conan’s talent vas revealed AT TV!!!).
There were too many coincidences, too many improbable and guessable events at the same time, so that I appreciate OBJECTIVELY this movie.
And the IMPORTANT part:
The morality of the movie being badly brought ( the friendship > Movie’s people + Conan & Shonen Boys) making it so old-fashioned…
And it’s a pity, he would have been able to be a waaaaay better than that!!
Thks for reading, and sorry for the english, not my language.
Story (7/10): After an almost fatal bombing on a newly opened subway line occurs, Conan believes there’s a connection to a dam building project that relocated an entire village 5 years ago, and the whole gang (minus the police department characters) end up traveling there. They are then met with some freaky coincidences that could lead to the culprit in this case. But just what is that persons goal, and what does a coma patient have to do with it?
As a story for a movie, this feels a bit underwhelming, but by no means is the story itself bad. In fact I would say that it’s the one of the more well done stories in a Conan movie to date, utilizing the time correctly and using the movie exclusive characters very well. The bad thing though is that it does feel like a longer episode of the main show, so there’s a bit too much padding to fill out the almost 2 hour time frame. The movie also tries to bring up the Shinichi/Ran romance, but where it fit almost naturally into the previous movie, here it feels tacked on for the sake of having it just be there.
Also I hope you’re a fan of the Detective Boys, cause they play a larger part here than in more recent films, but even I, who isn’t really a big fan of them, have to admit that they added a certain charm to the story itself. Otherwise I feel like the story moves along fairly well and the climax is really amazing, so kudos (heh) for holding itself up to the better standards of the last few movies.
Art (8/10): I get the feeling that the staff who works on the movies is getting more into doing action scenes, since they were better than ever. They must have had fun with all the snowboarding scenes because hot damn were they fluid and exciting. The snowy village location was also really nice to look at, though this does cause the problem of the film being very white and pale colored heavy.
Sound (7/10): I’m not going to rehash anything, since sound is pretty much the same in most Conan movies by now. But as usual, it was great (an much better timed with things compared to the horrendous job done in the last movie).
Character (7/10): Conan/Shinichi, is, as usual, great, along with a bit more screen time for Ai, but since they really don’t have too many character moments themselves, lets focus on the others. As I said before, the Detective Boys are actually fairly important in this movie, so I hope you have a soft spot for them (me personally, I don’t really like them all that much, but they have their moments). But thankfully, they fit in very well with the plot and they are played up with their strengths, making them much more tolerable than in other films. Agasa, Kogoro, Ran, and Sonoko, on the other hand, are just sort of thrown into the movie and don’t really do all that much, one of the unfortunate trends that the movies tend to have.
(If you’re wondering, Conan movies have the bad tendency of only focusing on one set of secondary characters, so one movie (Rave Chaser) may focus on the police characters, one (Jolly Rodger of the Deep Sea) focusing on Ran and Sonoko, and this movie on the Detective Boys, where the other set(s) feel out of place or underutilized. …rant over, I promise.)
The movie characters, thankfully, are fairly strong and are fun to watch. While they aren’t too amazing (they do have the standard feel of a Conan case character), special note goes to Touma, who is fairly interesting and probably could have had more screen time on his own, but for what we got he was interesting and helped with some interesting parallels with Conan, Ai, and the Detective Boys.
Enjoyment (8/10): Going into this movie, I had no idea what I was in for. All I knew was that there was a snowy location and…that’s it. But I’m happy to say that I was pleasantly surprised. While I do think that they could have made the film a slight bit shorter, it was entertaining and a totally fun watch.
Detective Conan: Quarter of Silence is a fun ride from start to finish, though it doesn’t feel quite as strong as the two movies prior to it. But that doesn’t matter as much since the mystery was interesting, the action fun, and it gave some characters some time to shine. While some things are the same as ever, it’s still a fun movie for fans and non-fans alike.
7/10 = fun movie with an interesting mystery and good action, but just doesn’t feel as strong as some of the better entries in the movie franchise; you better like the Detective Boys, because they’re partial headliners here
Did YOUR favorite anime make the cut? Let us know in the comments below!
1. Detective Conan Movie 15: Quarter of Silence
2. Doraemon Movie 31: Shin Nobita to Tetsujin Heidan – Habatake Tenshi-tachi
3. Toaru Hikuushi e no Tsuioku
4. Madang-eul Naon Amtalg
5. Hoshi wo Ou Kodomo